ED U C AT I O N R E S O U RC E PAC K

T H E W O R L D ’ S G R E A T E S TL O V E S T O R Y C O N T I N U E S

A N D R E W LL OY D W E B B E R ’ S

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CON TEN TS

Introduction PAGE 3

THE SHOWSynopsis PAGE 4

The Musical Numbers PAGE 6

Characters and pre-show drama activity PAGE 7

A Timeline: Phantom to Love Never Dies PAGE 8

BEHIND THE SCENESThe Creative Team PAGE 9

The Performers ................................................... PAGE 10

Meet the Stage Manager: Pupil Worksheet .......... PAGE 11

Meet Katie Wilkinson: Viola Player .................... PAGE 12

WATCHING THE SHOWWaltz Themes ..................................................... PAGE 14

Music Worksheet ................................................ PAGE 16

Dance Worksheet ............................................... PAGE 17

Write a drama review of LOVE NEVER DIES ... PAGE 18

HISTORICAL CONTEXTConey Island ...................................................... PAGE 20

Celebrity Sopranos ............................................. PAGE 22

1907 ................................................................... PAGE 24

Burlesque and Freakshows .................................. PAGE 26

Glossary ............................................................. PAGE 28

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IN TRODUCT ION

The principal characters of THE PHANTOM OF THE OPERA continue their stories in Andrew Lloyd Webber’s LOVE NEVER DIES.

Ten years after the mysterious disappearance of The Phantom from the Paris Opera House, Christine Daaé accepts an offer to come to America and perform at New York’s fabulous new playground of the world – Coney Island. Arriving in New York with her husband Raoul and their son Gustave, Christine soon discovers the identity of the anonymous impresario who has lured her from France to sing.

LOVE NEVER DIES is an ideal show for pupils studying Drama, Music, Dance or Vocational Performing Arts, with cross-curricular links to English, History and PSHE. Curriculum links are suggested, although these resources can easily be adapted as appropriate. The pages on Historical Context can be used to develop more background knowledge in all subject areas.

This education pack provides unique background information to the production and its historical context, with ideas for discussion and a range of follow-up activities including both written and creative tasks.

The pack also links to the show’s own website, which has a wealth of information, sights, sounds and interactive games for pupils to explore. www.loveneverdies.com

There are references in the pack to the musical numbers in the show, which can be purchased as a digital download or CD by clicking on SHOP on the website.

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SYNOPSIS

PROLOGUE AND ACT ONE

The show opens on Coney Island, but it is derelict, inhabited by the ghosts of its past. Madame Giry and some of the other freaks reminisce about how it was, until suddenly it bursts into life and we are back in the past in the hustle and bustle of this wonderful resort with the Phantom orchestrating the splendid entertainment of his “Phantasma, City of Wonders”.

Meg, Madame Giry’s daughter, is one of the principals in this vaudeville spectacular, trying to attract the attention and approval of Phantasma’s owner, the mysterious Mr Y, while Madame Giry is running the day-to-day business. Meanwhile, Mr Y (The Phantom) is up in his tower, the Aerie, in a room of amazing inventions. He has an automaton of a beautiful woman called Christine: the woman he loved ten years ago in Paris. In his song, ‘TIL I HEAR YOU SING, it is clear he still loves her and wants her back. He is interrupted by Madame Giry and Meg, who want to know what he thought of her performance. Madame Giry is annoyed by The Phantom’s continued obsession with Christine after all the help she has given him. He was on the point of being destroyed when she and Meg smuggled him out of Paris and brought him to America. Here he has risen from sideshow freak to impresario, with Madame Giry’s help.

Three months later, the real Christine Daaé, her husband Raoul, a French aristocrat who has lost his money gambling, and their ten-year-old son Gustave arrive in New York by ship. Gustave is thrilled by the freaks and their mechanical horse and carriage which come to meet them, but Raoul is disgusted. He has no idea who has booked his wife to sing at Coney Island. His behaviour upsets Gustave, and Christine comforts the boy, telling him to LOOK INTO YOUR HEART. When Christine is alone, The Phantom appears. Together they remember the night of love they shared ten years ago, just before her wedding to Raoul. Gustave wakes up screaming from a nightmare and meets The Phantom for the fi rst time. He believes him to be Mr Y and is promised a tour around Phantasma.

In the rehearsal studio Christine and Meg meet, old friends from their youth in the Paris Opera. Surprise turns to jealousy when Meg learns that Christine will be headlining, singing a new aria. Raoul encounters Mme Giry and she tells him Mr Y’s true identity. The freaks bring Gustave to the Phantom’s tower, where the child plays a haunting melody on the piano. The Phantom now suspects he is Gustave’s father. He unmasks himself, believing Gustave will accept him, but the boy is terrifi ed. Christine confesses that Gustave is the Phantom’s son and Mme Giry, who has been listening, now fears all her work over the years has been for nothing, and that the boy will inherit everything.

5

SYNOPSIS

ACT TWO

Raoul has been drinking all night in a bar by the water. Meg comes in from her morning swim. She tells Raoul that he must leave with Christine and Gustave. Raoul says he is not afraid, but he doesn’t realise that the bartender has been replaced by The Phantom, who challenges Raoul. They make a bet: if Christine does not sing, Raoul may leave with her and Gustave. Otherwise, Raoul must leave alone.

Meanwhile the entertainments continue. A hot air balloon descends on the beach to advertise Christine’s appearance at Phantasma. That night, Meg performs a raunchy dance about changing her bathing costume. She is furious when she realises that The Phantom didn’t even watch.

While Christine prepares to sing her aria, Gustave explores backstage. Raoul tries to persuade Christine to leave with him, but she cannot be swayed. Raoul leaves, The Phantom enters and says she must sing for him; the music is what brings them together. Christine performs the aria, LOVE NEVER DIES, to tumultuous applause. Afterwards she fi nds a letter from Raoul, but then realises that Gustave is missing. The Phantom suspects Mme Giry and threatens her, but then they realise that it was Meg, and her mother has a good idea where they have gone.

By the water, Meg is getting ready to drown Gustave. She draws a gun so The Phantom will listen. She says it was she who brought in the money that helped him to work, and build up his empire, and that she suffered for it. The Phantom tries to get the gun, but it goes off and Christine falls. Christine reveals to Gustave that The Phantom is his father. She tells The Phantom that her love for him will never die. They kiss, and she dies in his arms. The Phantom comforts Gustave, who unmasks him and accepts him as his father.

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THE MUSICAL NUMBERS

THE MUSICAL NUMBERS

SCENE 1 Outside Phantasma Heaven By The Sea Ensemble

SCENE 1 Outside Phantasma Only For Him/Only For You Meg Giry, Madame Giry, Ensemble

SCENE 2 The Aerie The Aerie The Orchestra

SCENE 2 The Aerie ‘Til I Hear You Sing The Phantom

SCENE 2 The Aerie Giry Confronts The Phantom/‘Til I Hear You Sing (Reprise)

Meg Giry, Madame Giry, The Phantom

SCENE 3 Pier 69 Christine Disembarks Raoul, Gustave, Ensemble

SCENE 3 Pier 69 Arrival Of The Trio - Are You Ready To Begin? Fleck, Gangle, Squelch, Raoul, Gustave, Ensemble

SCENE 4 The Hotel What A Dreadful Town! Christine Daaé, Raoul, Gustave

SCENE 4 The Hotel Look With Your Heart Christine Daaé, Gustave

SCENE 4 The Hotel Beneath A Moonless Sky Christine Daaé, The Phantom

SCENE 4 The Hotel Once Upon Another Time Christine Daaé, The Phantom

SCENE 4 The Hotel Mother Please, I’m Scared! Gustave, Christine Daaé, The Phantom

SCENE 5 Backstage Dear Old Friend Meg Giry, Madame Giry, Christine Daaé, Raoul, Gustave, Ensemble

SCENE 6 The Aerie Beautiful Gustave, Fleck, Gangle, Squelch, The Phantom

SCENE 6 The Aerie The Beauty Underneath The Phantom, Gustave

SCENE 6 The Aerie The Phantom Confronts Christine The Phantom, Christine Daaé, Madame Giry

ACT 2 Entr’acte Entr’acte The Orchestra

SCENE 1 The Bar Why Does She Love Me? Raoul, Meg Giry, Ensemble

SCENE 1 The Bar Devil Take The Hindmost Raoul, The Phantom

SCENE 2 The Beach Heaven By The Sea (Reprise) Ensemble

SCENE 2 The Beach Ladies...Gents!/The Coney Island Waltz (Reprise)

Fleck, Gangle, Squelch, Ensemble

SCENE 3 Onstage at Phantasma Bathing Beauty Meg Giry, Fleck, Gangle, Squelch, Ensemble

SCENE 4 Meg’s Dressing Room Mother, Did You Watch? Meg Giry, Madame Giry

SCENE 5 Christine’s Dressing Room Before The Performance Christine Daaé, Raoul, Gustave, The Phantom

SCENE 6 Backstage/Onstage at Phantasma Devil Take The Hindmost (Quartet)

Gustave, Raoul, The Phantom, Madame Giry, Meg Giry, Ensemble

SCENE 6 Backstage/Onstage at Phantasma Love Never Dies Christine Daaé

SCENES 7 & 8 Christine’s Dressing Room/Coney Island Ah Christine! The Phantom, Christine Daaé, Raoul

SCENES 7 & 8 Christine’s Dressing Room/Coney Island Gustave! Gustave!... Christine Daaé, The Phantom, Madame Giry,

Fleck, Squelch

SCENE 9 The Pier Please Miss Giry, I Want To Go Back... Meg Giry, Christine Daaé, The Phantom, Madame Giry, Gustave

Go to http://www.loveneverdies.com/the-show/musical-numbers/to listen to excerpts or purchase the full cast recording

7

CHARACTERS

THE PHANTOM – At the end of The Phantom of the Opera, the Phantom is left surrounded by an angry mob at the Paris Opera. With the help of Madame Giry and Meg, he fl ees to America where he works for a showman and is subsequently able to buy a sideshow. With the Girys’ help he becomes rich and ends up owning Phantasma, the huge attraction on Coney Island.CHRISTINE DAAÉ – Christine leaves the Phantom at the Opera, and marries Raoul. They have been raising one son, Gustave, now ten years old. RAOUL, VICOMTE DE CHAGNE – Raoul has lost his fortune through gambling and drinking. He no longer feels the same passion for Christine as he once did, and is left a bitter and angry man.MADAME GIRY – Along with her daughter Meg, Madame Giry helped the Phantom escape the mob at the end of The Phantom of the Opera. She has since realised that despite all of their help, the Phantom still cares more for Christine than for Meg, which makes her despise him. MEG GIRY – Now a vaudeville singer, she continues to hope to become as famous as Christine. She craves The Phantom’s approval.GUSTAVE – Christine’s son. Curious and unafraid of the freaks at Phantasma, he possesses a rare musical ability that Raoul does not.FLECK, GANGLE, SQUELCH – The freaks who do the Phantom’s bidding. They are his loyal servants.THE PEOPLE OF CONEY ISLAND – The theatre, the streets and the beaches of Coney Island are teeming with people: dancers, holiday makers, circus performers.

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A T IMELINE: FROM P HAN TOM TO LOVE NEVER DIES

LOVE NEVER DIES: AF TER PHANTOM“What I think is that LOVE NEVER DIES is a completely stand-alone musical, that just happens to have the same four characters as THE PHANTOM” Andrew Lloyd Webber

Nearly 20 years in the making, LOVE NEVER DIES is the sequel to Andrew Lloyd Webber’s 1986 hit musical THE PHANTOM OF THE OPERA.

1986 - The Phantom of the Opera opens in the West End. 1990 - Following a conversation with Maria Björnson (the designer for THE PHANTOM OF THE OPERA) Andrew Lloyd Webber decides that should a second musical be written, it would be set in New York City at the turn of the century. One of their ideas is to have Phantom live above ground in Manhattan’s fi rst penthouse. 1991 - Lloyd Webber watches a documentary on the Coney Island Fairground; it makes such an impression that he decides to set LOVE NEVER DIES there. 1992 - Lloyd Webber begins collaborating with author Frederick Forsyth, but eventually it seems that the ideas might be too diffi cult to adapt for a stage musical. 1999 - Forsyth goes on to publish some of the ideas that he had worked on with Lloyd Webber as a novella entitled THE PHANTOM OF MANHATTAN. 2006 - Lloyd Webber returns to the project, collaborating with a number of writers and directors. 2007 - Ben Elton (writer of the libretto for Lloyd Webber’s THE BEAUTIFUL GAME) comes on board to help shape a synopsis for a sequel, based upon Lloyd Webber’s initial ideas. Elton’s treatment of the story focuses more on the original characters of THE PHANTOM OF THE OPERA.(March) 2007- Lloyd Webber is pleased with Elton’s work on the synopsis, and announces that he will be moving forward with the project. 2008 - Lloyd Webber announces that the sequel would be called PHANTOM: ONCE UPON ANOTHER TIME and the fi rst act is performed at Lloyd Webber’s annual Sydmonton Festival. (September) 2008 - During the BBC’s BIRTHDAY IN THE PARK, Lloyd Webber announces that the title will be LOVE NEVER DIES. 2009 - It is announced that Ramin Karimloo, who had played the Phantom in the West End, and Sierra Boggess, who originated the role of Christine in PHANTOM- THE LAS VEGAS SPECTACULAR, are to be cast as the Phantom and Christine. On October 8 2009, Lloyd Webber holds a press conference at Her Majesty’s Theatre, where the original PHANTOM had been running since 1986, confi rming these castings and performing two songs from the show for industry professionals and journalists. ( January) 2010 - Rehearsals begin for LOVE NEVER DIES.22nd Feb 2010 - Previews open for LOVE NEVER DIES, but are delayed two days because of Boggess contracting an illness.9th March 2010 - LOVE NEVER DIES has its fi rst offi cial opening night, and sets a record as the fi rst time a musical sequel has ever been staged in the West End.

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BEH IND THE SCENES

THE CREATIVE TEAMAndrew Lloyd Webber Producer, Composer, Book and Orchestrations

Glenn Slater Lyrics and Book

Ben Elton Book

Frederick Forsyth Book

Jack O’Brien Director

Jerry Mitchell Choreographer

Bob Crowley Set and Costume Designer

Paule Constable Lighting Design

Mick Potter Sound Design

David Cullen Orchestrations

Simon Lee Music Supervisor

Jon Driscoll Projection Design

Scott Penrose Special Effects

Armando Farfan Jr Circus Skills Consultant

Stephen Rebbeck Production Manager

Benjamin Endsley Klein Associate Director

Jodi Moccia Associate Choreographer

Rosalind Coombes Associate Designer

Naomi Donne Make-Up Designer

David Charles Abell Musical Director

James McKeon Associate Musical Director

Paul Gatehouse Associate Sound Designer

Beky Stoddart Associate Lighting Designer

Gemma Carrington Associate Projection Designer

Mariano Detry UK Associate/Resident Director

Louise Hunt Music Associate

David Grindrod Associates Casting Director

Sylvia Addison Orchestral Management

André Ptaszynski Producer

The Really Useful Group Producer

Do you know what each job entails?If you are viewing this pack online, click on the names and you will be linked to their biographies.yyyyyy gg ppp yyy ggggggggg pppppp

On the next pages we give you a glimpse into the working lives of more members of the LOVE NEVER DIES team…

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THE P ERFORMERS

Working in musical theatre requires a huge range of talentsHere are just three snapshots from our cast

Collete Morrow is an experienced aerial artist. She performs on the hoop in the Coney Island scenes,

but she also covers the role of Fleck and sings and dances in the ensemble throughout the show.

Skills: dancing, singing, aerial acrobatics, acting

THE GUSTAVESThe role of Gustave is a huge challenge for a young performer. A boy’s voice changes at puberty and boys have a tendency to grow taller at the same time, so in September 2010, the fi rst Gustaves handed over to a new team. There are six on the team so that they can alternate. There are laws dictating how many performances a child can do in a week and it is important that their education is not affected. The boys work in pairs, so that their partner can cover for them if they are ill. This is one role that an ensemble member could not step into!Skills: Singing, excellent soprano voice, acting, courage!

Sierra Boggess and Ramin Karimloo are both very big stars. But they still have to work very hard to give such demanding performances. They were also much in demand during the marketing campaign for the show, making television appearances and giving interviews. During the fi rst two weeks of preview performances they were still rehearsing during the day, while changes and re-writes were being made. They had to be fl exible to accept new ideas and new blocking. It’s not all fun at the top either. They both report having been too tired and too worried about the next day’s work to totally enjoy the after-show party on opening night, needing to make sure they rested their voices for the next show.

Skills: singing, acting, dancing, overall fi tness, focus, self-discipline

Did you know that there are

31 people on stage during the show?

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BEH IND THE SCENES

MEET JO MILES: STAGE MANAGERPupil Worksheet

You will need an internet connection

1. Go to http://www.loveneverdies.com/blog/2010/04/29/managing-the-stage/Watch Jo’s interview carefully and answer the following questions:

• What are the two main functions of Jo’s job?

• How old was Jo when she got her fi rst job in theatre?

• She became an assistant stage manager. What were the two other jobs she had on that fi rst tour?

• What is the show report?

• What is the show preset?

• How many different warm-ups are there?

• Can you name two other Andrew Lloyd Webber shows which Jo has worked on?

• Why does Jo like large-scale musicals?

• What is Jo’s favourite show?

• What is Jo’s favourite theatre?

• Which actor was Jo ‘star-struck’ about?

2. Extension activityJo continues her interview at http://www.loveneverdies.com/blog/2010/04/30/more-from-jo-milesListen again and answer these questions:

• Why do you think Jo hasn’t been able to see the show at the time of the interview (just after it opened)?

• What are her two favourite moments of the show? Do you agree with her?

• What’s the best part of her job and why has this show given her something new?

• What personal qualities and skills does a stage manager need?

• Are there any others that you think might be important which Jo hasn’t mentioned?

• What is different about the social hours of theatre professionals from a 9 to 5 job?

• What possible routes into theatre stage management does Jo suggest?

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MEET KATIE WILKINSONViola player in the LOVE NEVER DIES orchestra

What’s it like, playing in the orchestra pit?It’s an undercover world – you don’t see a thing. You can hear them singing. I do see one girl – she’s obviously doing a lot of high kicks because I can see the top of her leg reaching up there – and I think, ‘My God, I wish I could do that.’ I stand up sometimes at the bow so I can see the Phantom. He’s marvellous actually – it’s a mask. He looks so much better with the mask on – even though he’s quite a handsome bloke, it’s much more interesting with a great big gash down his face.

Can you hear the audience?Yes, we’re right next to the audience – you can hear them eating their sweets.

How long have you been part of this undercover world?This started in February (six months ago). Before that I was doing OLIVER! and I did EVITA a year before that .

How does this compare to playing in a quartet?It’s a completely different scene. You’ve still got a certain amount of personal responsibility, but you’re part of a company, which I really like and it’s very social, which is nice. You know what you’re doing, you’ve got regular times and you just go and play. We’re actively encouraged to take holiday and we get paid holiday money – which is unheard of for musicians – and so for four weeks of the year you are expected to take some time off as it’s detrimental to be playing the same thing each week. I suppose most people do about 70% or 80%. I probably do about 50% or 60%. Certainly not less than 50% because then you have to question, ‘what’s the point of having a job?’ I fi nd four or fi ve shows a week (out of eight) enough and two show days are very, very hard – especially the two hours in between, trying not to spend the fee in Covent Garden!

Do you fi nd the same ‘musical connection’ playing in an orchestra as you do in a quartet?Like any music, it’s about sharing. You get a tune with someone or you share a rhythmic phrase with the fl ute, for instance. Music is about conversation – dialogue. It’s not just about playing a tune and hoping everyone else fi ts around you. It’s all about dialogue interweaving.

How long is the show and how much do you play in?We play all the time – there’s just one tacet for us. It’s all divided into numbers. There are 18 numbers in the fi rst half and about 12 in the second and there’s usually a bit of dialogue between each one. This is a very nice show because he’s a brilliant writer, Lloyd Webber, and the guy who’s done all the arrangements is fantastic. It’s a really good play and I think the music’s very sincere. I do a lot of sessions as well, so I can spend a whole day in the studio playing very bland music and then I go down to the show and actually just play and express myself. The only down side is you are playing the same thing every night, but if you try to be creative it’s great.

It’s a big string sound you produce in LOVE NEVER DIESThat’s the sound people. They’re the best in the country, actually. The girl who does the sound is amazing – she makes it sound like a symphony orchestra, and that’s a real skill.

How many of you are there?There’s 21 in the pit altogether, including keyboards. Keyboards help the sound, but it’s the way they’re mixed from the sound desk that makes it sound so good.

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Do you have microphones?I have a pick-up on the instrument and there are ambient mikes as well. It’s good because you never have to force – there’s no point because you’re never going to sound like a hundred violas, so they just turn a button and that’s it. It doesn’t bother me at all having a pick-up mike on my viola – particularly on the one I’m playing on at the moment. I’m playing on my little Romanian one, which is fi ne because to be honest, when you’re amped up anyway you don’t need the real quality of a Galliano, which is what my other viola is.

Actors often say that live theatre is ‘different every night’. Is that the same for the orchestra?I think one always tries to make it different. I think you always try to be creative. Sometimes if you’re really tired and it’s the second show, you can just go on automatic pilot but that’s not very rewarding for anyone. Personally I always try to pretend it’s a new piece and it’s the greatest piece ever played. I think that’s the only way you can do it.

Is there a monitor on the front of the circle?Yes, the actors need monitors on the stage. Our pit’s lovely for an orchestral theatre pit – we’re lucky. It’s very spacious, it’s air conditioned and most of us can see the MD quite well. But the ones that can’t – they’ve got monitors on their stands.

At the end of LOVE NEVER DIES, people leave while the orchestra is still playing – can you hear them?Yes! First of all we were worried because it’s a long ‘play out’, but in actual fact there’s always a few die hards who actually come down the front and they

go mad for it. And that makes it all worthwhile. If you just get 5% of the audience really enjoying it, then you feel you’ve done something good. That’s quite thrilling for us. People applaud at the end of the ‘play out’ and that’s great. There will come a time when there’ll be one solitary person clapping, but at the moment it’s quite thrilling because there’s a lot of people staying behind.

What advice would you give to a really talented young musician?Practise. And socialise! It’s true! You’ve got to be seen. It’s all very well being the best in the world but, actually, who’s going to know that? At the Philharmonia Orchestra, for example, they had a rank and fi le job going and they had something like 350 applicants. Well, they haven’t got time or money to audition that many, so you’re going to get a shortlist of 20 maybe 25. So how do you do it? It’s people who you’ve heard about. On the other hand, you don’t want to be too pushy because then some people don’t want you either. To be honest, I don’t know what the answer is. I think you have to be bloody good and you have to play and perform as much as possible – any small concert, any recital and particularly chamber music. Because chamber music is the best thing to do – being a chamber musician shows that you can listen and share with other people as opposed to just going off and doing your own thing.

If anyone wanted to be a professional musician now they have to think, ‘I don’t care about anything else. This is what I’m going to do.’ It doesn’t matter how good you are. You can learn to be good, but it’s having that inside. You’ve got to have drive and just be really focused and take all the knocks – and write loads and loads of sponsorship letters!

14

THE SHOW

WALTZ THEMES

There are several waltz themes in Love Never Dies: THE CONEY ISLAND WALTZ, LOOK WITH YOUR HEART and MY DEAR OLD FRIEND are all written in waltz time (three beats to a bar) and Andrew Lloyd Webber specifi cally describes the falsely polite MY DEAR OLD FRIEND sung by Christine, Meg, Mme Giry and Raoul as ‘Viennese’.

15

THE SHOW

The nineteenth century Austrian composers Johann Strauss (1804 - 1849) and, more particularly, his son Johann Strauss II (1825 - 1899) wrote many famous Viennese waltzes. Indeed, Johann Strauss II was known as ‘The Waltz King’ because he wrote so many. Listen to Die Libelle (opus 204) by Johann Strauss I; The Blue Danube (opus 314), The Emperor Waltz (opus 437), The Acceleration Waltz (opus 234) and the wonderfully named Wine Women and Song (opus 333) all by Johann Strauss II. These were the popular tunes of the day and a Coney Island audience would have recognised the style.

The name comes from the German word ‘waltzen,’ which means ‘to turn.’ The turn is the essence of the waltz step. The waltz is done in 3/4 time, with an accent on the fi rst beat of every measure. Each series of movements is a turning step and a close. The Viennese Waltz is still popular today – often featured on Strictly Come Dancing. Nineteenth century ladies would lift their dresses up high and dance far closer to their partners than in other dance styles of the time. As enthusiasm for dancing this Viennese Waltz grew, several large dance halls were opened in the 1800s to accommodate crowds of people. Johann Strauss II’s romantic music added to their popularity and, inevitably, there was some outrage at this dance form. Young debutante ladies were not permitted to accept an invitation to dance the Waltz without observing strict rules about ‘keeping your distance’, and a pamphlet entitled ‘Proof that Waltzing is the Main Source of Weakness of the Body and Mind of our Generation’ was published in 1797. Waltzes were considered very risqué and in 1813 Lord Byron wrote a poem, THE WALTZ:

liberal of feet, and lavish of her hands / Hands which may freely range in public sight.

By the early twentieth century, when LOVE NEVER DIES is set, the dance had lost its ‘loose’ reputation.

16

M U S I C WO R KS H EE T

LISTEN* OUT FOR…

How is the 21-piece band used to colour and describe the action?

Which instruments does Andrew Lloyd Webber use to accompany the following:

The different Phantasma acts that we see

The passengers disembarking the boat

Meg and the Bathing Beauties

Gustave climbing up to The Phantom’s Aerie

Why does he choose these instruments and how do they add to the drama?

Which instruments would you use to portray love, fear or suspense?

*Listen when watching the show. But don’t make notes then, you might miss something. Wait until the interval or the end. If you want a reminder, listen to the CD or digital download available from www.loveneverdies.com

17

DA N C E WO R KS H EE T

LOVE NEVER DIES AS STIMULUS FOR DANCE COMPOSITION

1. Choose an aspect of LOVE NEVER DIES as a stimulus for a contemporary dance routine. Suggestions of themes: the automata in the Aerie; masking facial disfi gurement; the whirl and bustle of Coney Island contrasted with its darker side; love and tragedy.

2. Think of and write down all the words that you associate with your chosen theme, as well as words that best describe it.

3. Select the best words (the ones with the most movement potential e.g. trembling, sharp etc.) to interpret the movement idea and decide which points to concentrate on.

4. Note down all the aspects below that go towards making a good piece of dance.

5. Having selected your fi rst movement idea, leave the stimulus and go away to improvise (experiment) with this idea. See where it leads – to pure movement? A dramatic idea? During improvisation when a movement feels right and fi ts with your idea for your dance, then it is chosen.

6. Form your fi rst idea into a short motif.

7. Note down your motif, go back to the stimulus and choose another idea to work with.

8. You should have a range of motifs to work with and develop into a piece of choreography!

Remember! WHAT? STIMULUS! HOW? Directions: formations, levels, pathways, areas of the stage Dynamics: fl ow, energy, speed, weight

With thanks to South Axholme Community School, Epworth, near Doncaster

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1. What date did you watch the show? What is the name of the theatre? What is the name of the composer, the director and the company putting on the show?

2. Include a very brief summary of the plot and its main themes.

3. What atmosphere is created in the auditorium before the show and how? What do you see and hear?

4. What different kinds of scenery and staging are used during the show?

5. When is the set realistic and when is it non-naturalistic? Why do you think this is and what effect does it create?

6. How is the historical time period shown in the set, the dance numbers and costume?

7. How is the lighting used? What colours and levels are used to create specifi c effects? Give examples from at least two contrasting scenes. Is it effective?

8. What colour themes run through all the elements of drama (lighting, sound costume etc)? Why and what effect does it create? What statement does the designer’s choice of colour make about the themes of the show and how? Give examples from three contrasting scenes.

9. How do the actors communicate their characters through body and voice and facial expression?

10. How do the characters let you know (not through their actual words) their relationships with other characters?

Pick two contrasting characters to talk about, for example Meg and Christine or Raoul and The Phantom.

11. How else do the actors communicate their characters and feelings?

12. What drama strategies did you see used, detail when and why you think they were used, what effect did this create?

13. How did the Company work together as an ensemble?

14. Did you see any infl uences from dramatists you may have studied such as Brecht or Stanislavsky - either in the overall design of the show or in the performances themselves?

15. What elements of naturalism or non-naturalism exist in musical theatre performances? Give examples from LOVE NEVER DIES.

WRITE A REVIEW OF LOVE NEVER DIES

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16. Can you draw any links or connections between other productions you may have seen?

17. How does the music tell the story? How do actors make the transition from speech to song? Give examples.

18. How were the audience included in the performance, what was the effect of this?

19. Was there anything you were particularly impressed with and why?

20. Was there anything you thought could have been done to better effect and why?

21. Finally, how do you think the piece worked together as a whole, how did all the drama elements work together to create a performance that gave a particular dramatic message?

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H ISTORICAL CON TEXT

CONEY ISLAND: A LITTLE SLICE OF HEAVEN BY THE SEA

“MIRACLE ON MIRACLE! SPEED AND SOUNDWHIRLING ‘ROUND…ALL AMERICA WAS THERE,BEGGAR NEXT TO BILLIONAIRE!” Madame Giry: Prologue

The historian Elliot Willensky once said it, “was the nature of going to Coney Island that you would encounter strangeness. You would encounter the unencounterable.” Throughout its history Coney island has delighted and amused, as well as frightened and terrifi ed, all manner of people and classes. It has caused political scandal, countless commotions, and was once dubbed ‘Sodom-By-The-Sea’ by an outraged New York Times.

Coney Island is a peninsula in southernmost Brooklyn, New York. Originally used for rabbit hunting, the name Coney an old word for rabbits, the fi rst hotel on the island opened in 1829. By the 1870s respectable, middle-class families were vacationing in the many hotels that lined the sandy beaches. But darker elements also haunted the island. On the opposite side of the island, a makeshift pier and pavilion was used to host picnics dedicated to gambling and other vices. Dead bodies were sometimes found rolling in the surf.

Advances in technology would play a powerful part in reshaping Coney Island as the 19th century drew to a close. The expansion of the railroads, of electric streetcars and subways, made it easier than ever to visit Coney Island on a day trip. New ways of working meant people had more free time and more money. Coney Island was soon fl ooded with visitors from all classes looking for a good time or a chance to escape New York’s growing slums.

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The world’s fi rst roller coaster was built in 1884 on Coney Island. Amusement parks followed, the fi rst being Steeplechase Park. Its slogan was ‘half a mile in half a minute and fun all the time’, the fun mainly coming from the fact that it allowed Victorian men and women a chance for close body contact on the rides. That wasn’t the only fun, though: when stepping from the ride customers entered the Blowhole Theatre. A jet of air blew up the unsuspecting woman’s skirt while a dwarf shocked her date with a cattle prod, all for an audience of other tourists.

By the early 1900s Coney Island exploded in a forest of glittering electric towers and a riot of rides, restaurants, recreated disasters, freak shows and historical displays. There was a simulated trip to the moon, the largest herd of show elephants in the world, and Lilliputia, a perfect miniature town inhabited by 300 little persons year-round.

The ‘freak shows’ were some of Coney Island, most popular attractions and promoters spent many years fi nding and promoting ‘human oddities’, such as the lion-faced man, the tattooed lady, and the pinhead. ‘Human oddities’ who were often forced to work in circuses and other travelling shows enjoyed the relative stability and permanence of Coney Island.

Coney Island went into decline as the 20th century carried on. Changes in tastes and entertainment options, as well as air conditioning in many parts of New York during the hot summer months, meant fewer and fewer visitors. Many of the original buildings fell into disrepair or were demolished. However, many shows and events are still staged there including burlesque and modern day ‘freak shows’.

“EV’RY KIND OF WHOOP-DE-DOO!” Meg Giry

To get a sense of the scale and the sounds of Coney Island (and to have some fun) go tohttp://www.loveneverdies.com/coney-island-experience

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H ISTORICAL CON TEXT

CELEBRITY SOPRANOS

“Christine Daaé, the soprano of the century.”

Operatic sopranos – like the character of Christine Daaé – were, in the late nineteenth century, the celebrities of their day. The term ‘prima donna’ (literally meaning ‘fi rst lady’ in Italian) in fact comes from the world of Italian opera and was originally used simply to refer to the leading soprano in an opera company. In the Victorian era these singers began to be referred to as ‘divas’ (Italian for a female deity or goddess). They gained huge celebrity and fans followed their public and personal lives just as we do the lives of pop stars and fi lm stars today. Many of these sopranos had reputations for being outrageously extravagant, having temper tantrums and being ‘diffi cult’ onstage and off. It is unsurprising, therefore, that we now associate both the term ‘prima donna’ and ‘diva’ with arrogant, unpleasant behaviour.

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H ISTORICAL CON TEXT

Perhaps the most famous soprano of the late nineteenth and early twentieth century is Dame Nellie Melba (1861 -1931). She was born in Australia as Helen Porter Mitchell and, at the start of her operatic career, renamed herself Nellie Melba - after Melbourne, the place of her birth. Her voice was said to have exceptional beauty and power and she became an international star. When she toured Australia at the height of her fame in 1902, she was besieged by fans and reporters – just as Christine is as she disembarks the boat in LOVE NEVER DIES.

Nellie Melba became extremely rich as well as famous. Her London home was extravagantly decorated to look like the Palace of Versailles and she liked to dine on caviar. Her face was printed on the Australian $100 note and she sung for both Queen Victoria in England and Tsar Alexander III in Russia. She herself was treated like royalty and, indeed, had a long and scandalous affair with the Duke of Orleans – an affair that was much written about in the newspapers of the day. Nellie was married at the time to an Australian, Charlie Armstrong, but by this time she had separated from Armstrong and – quite unlike Christine Daaé – had also left their son George in Australia while she pursued her career.

Nellie Melba’s ‘prima donna’ behaviour was legendary – she once refused to take a bow after a performance alongside her co-star as she wanted to receive all the applause by herself, and she allegedly refused fl owers to be delivered to anyone else in the company but her! And yet Melba was very much loved by the press and the public – the famous chef Auguste Escoffi er created and named the Peach Melba dessert for her and Melba toast, originally known as ‘toast Marie’, was also named after her, once it became one of her favourite dishes.

In 1904 Nellie Melba was one of the fi rst singers ever to be recorded and in 1918 she was awarded Dame Commander of the British Empire and so became Dame Nellie Melba. She died in 1931 from an infection, supposedly caused from having a face-lift – twenty-fi rst century celebrities beware!

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H ISTORICAL CON TEXT

1907A show set in a specifi c historical period requires in-depth research. The historical details help set the scene and give the audience a feeling of being in that world.

MECHANISATION The mechanics of the fairground rides, the horse and carriage, the giant musical monkey and the skeleton pushing the table on wheels fascinate Gustave. In the early twentieth century, advances in engineering and the rate of invention made it seem like magic. It was a period of rapid technological advance not unlike today’s digital revolution. Electric light was revolutionising industry, entertainment and domestic life.

THE HOT-AIR BALLOON (and the history of marketing)Although the hot air balloon had been around for a hundred years, by 1907 its appearance on the beach would still have caused a sensation, especially as the unusual characters of Phantasma were fl ying it. Even in today’s supersonic age, hot-air balloons are a spectacular form of publicity which cause everyone to stop and stare. The backdrop of an empty sky and the balloon’s slow progress are ideal. After all, where else can a company logo be so visible?

DISEMBARKING AT PIER 69

WHO ARE THE PAPARAZZI INTERESTED IN…?

OSCAR HAMMERSTEIN I (1846 - 1919) was a famous opera producer. He built and opened opera houses and theatres across the USA and was frequently plagued with fi nancial worry and debt. Dame Nellie Melba sang a season for him, saving him briefl y from dire fi nancial straits. In LOVE NEVER DIES, of course, Christine and Raoul turn him down as The Phantom offers more money. Oscar Hammerstein’s grandson Oscar Hammerstein II was the legendary lyricist who created the books and lyrics for, amongst others, SHOWBOAT, OKLAHOMA, CAROUSEL, SOUTH PACIFIC and THE SOUND OF MUSIC.

MRS ASTORCaroline Webster Schermerhorn Astor (1830 - 1908) was an American aristocrat and famous socialite. The established New York Astor family were an ‘old money’ family and she was a notorious snob. She wished to be the ‘A’ list celebrity at the top of everyone’s invitation list and not only considered people ‘new to wealth’ to be inferior to her, but sought to exclude them from society.

THE VANDERBILT FAMILY were the richest ‘new money’ family in New York. Cornelius Vanderbilt was not born into a wealthy family. He left school at age 11 and created a railroad and shipping empire that was to make him one of the richest men in the world. For many years Mrs Astor refused to acknowledge the Vanderbilt family or invite them to her prestigious parties but eventually, in 1883, she relented and ‘called on’ Alva Vanderbilt. Some believe she did this because she did not wish to be excluded from the increasingly fashionable balls that the Vanderbilts were hosting and others believe that she realised the Vanderbilts were climbing the social ladder and that she herself might need them as wealthy allies… Notice that in LOVE NEVER DIES Mrs Astor and Colonel Vanderbilt do not disembark together!Edith Wharton’s The Age of Innocence is all about these society confl icts.

But by the far the biggest star on Pier 69 is Christine Daaé!

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H ISTORICAL CON TEXT

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H ISTORICAL CON TEXT

BURLESQUE AND FREAKSHOWS

In the nineteenth century, when respectable women were heavily covered in long dresses, crinolines and bustles, burlesque emerged as a form of popular entertainment where sex was on show. Gender roles could be swapped, the manners of the upper classes could be mocked (or ‘burlesqued’) and the repressive norms of society were turned on their heads. Aspects of circus, the minstrel shows and mockeries of more established plays came together on the same bill.

Meg’s bathing costume routine is based on a very poplar routine at the time.

FREAKSHOW

At Phantasma, the Phantom and Madame Giry have brought together contortionists and acrobats, female impersonators and bearded ladies. The freakshow, where people with different shaped bodies or facial disfi gurement were put on show, was where the Phantom earned his living when they came to America. It is also part of his back-story. He is reviled and mocked for money as a child and it is the young Mme Giry who helps him escape from cruel circus masters. Before our modern understanding of accepting physical difference, people with disabilities were sometimes able to achieve some level of fi nancial independence, by working in the entertainment business. Although many, like the young Phantom were badly exploited. As he understands what it’s like, he treats his performers with more respect. It is the ‘freaks’ who are sent to fetch the most important performer of all, the Phantom’s precious love, Christine. As Fleck sings in the Prologue:

“DON’T YOU REMEMBER WHAT HAPPENED BACK THEN? WHEN WE…EVEN WE!... DARED TO WALK AMONG MEN”

Fleck

H ISTORICAL CON TEXT

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GLOSSARY

The Book: either, the spoken text of a musical (also known as the libretto) or: the stage manager’s copy of the script – used to mark the blocking and technical cues, as in “the deputy stage manager: on the book”.

Burlesque: emerging from nineteenth century music hall tradition, at the turn of the 20th century, it traditionally included comedy and striptease. In theatre or literature burlesque can also mean a comically exaggerated imitation.

Choreographer: a person who creates dance compositions by planning and arranging dance movements and patterns.

Deps: A ‘dep’ means a deputy: another player that can stand in for a member of the band.

Designer: the person who creates the ‘look’ of a play, makes decisions about the shape of the set, colour schemes and costumes.

Director: the person who has overall responsibility for translating a writer’s words from the page to the stage or into fi lm – has overall responsibility for integrating all the creative elements of a production – acting, design, choreography, lighting, sound.

Ensemble: the company of performers who act, dance and sing all the minor roles and crowd scenes. They also act as understudies and swings.

Entr’acte: literally the interval between two acts. It also means the piece of music that is played as the interval begins and ends.

Fixer: books the musicians for a performance and manages the balance of deps to employed players. Orchestra member Katie Wilkinson says, “It’s like organizing a nice dinner party.”

Producer: the person who oversees the fi nancial and administrative aspects of a play or fi lm, responsible for raising money, hiring a creative team and having overall supervision for all aspects of production, marketing and planning.

Swing: is an understudy for several parts. He or she learns the choreography for several different dancers so that they can ‘swing’ into the role if a dancer is injured and unable to perform. The term swing is also used for technical staff who ‘swing’ between backstage jobs as required.

Tacet: is a Latin word for ‘it is silent’ and so, written in a music score, it tells you that your instrument does not play in a particular number or movement.

Understudy: a performer who is able to take over from another at short notice. Unlike a swing, who covers several roles, an understudy usually covers one lead role.

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EDUCATION PACK CREDITS

Created by Helen Cadbury www.theatrestudy.com Additional material researched and written by Anna Darvas, Katherine Jewkes, Maddy Beauvais and Sarah Brook.

Love Never Dies original production photographer: Catherine Ashmore

Page 15 image of Johann Strauss I (1804 - 1849) Page 23 image of Dame Nellie Melba © Lebrecht Music and Arts Photo Library

Eduction Pack designed by Dewynters

This Education Pack has been designed so that individual pages may be printed off by teachers/group leaders for individual use within the classroom. Any further distribution or reproduction of the text and images contained within it is prohibited.

Love Never Dies Education Pack © RUG 2010

www.loveneverdies.com

For more information contact:The Marketing Department The Really Useful Theatre Company Ltd 22 Tower Street, London WC2H 9TW +44 (0)20 7240 0880

All information contained within this education pack is correct at the time of going to press.